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A Critical Analysis of 34Th Street Murals, Gainesville, Florida

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A Critical Analysis of 34Th Street Murals, Gainesville, Florida Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Critical Analysis of the 34th Street Wall, Gainesville, Florida Lilly Katherine Lane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE A CRITICAL ANALYSIS OF THE 34TH STREET WALL, GAINESVILLE, FLORIDA By LILLY KATHERINE LANE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 All Rights Reserved The members of the Committee approve the dissertation of Lilly Katherine Lane defended on July 11, 2005 ________________________________ Tom L. Anderson Professor Directing Dissertation ________________________________ Gary W. Peterson Outside Committee Member _______________________________ Dave Gussak Committee Member ________________________________ Penelope Orr Committee Member Approved: ____________________________________ Marcia Rosal Chairperson, Department of Art Education ___________________________________ Sally McRorie Dean, Department of Art Education The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..…………........................................................................................................ v List of Figures ................................................................... .…………………..……............. vi Abstract …………………...……………………………………………………………..….. ix INTRODUCTION .…………………………………………..…………………....…............ 1 Problem Statement ……………………………………………………….................. 2 Art Criticism in Context ………………………………………………..................... 2 Scope and Limitation ....………………………………….....……………..... .……. 3 Definition of Terms ………………………………………………………................. 3 Introduction to The 34th Street Wall ....……………………………………….......... 4 Methodology .............................................................................................................. 5 Sources ………………………………………………………………......… 5 Contextualism …………………………………………………………......... 7 Semiotics ........................................................................................................ 8 Structuralism ……………………………………………………………....... 9 Deconstruction . ……………………............................................................. 10 Social Construction ....................................................................................... 11 Contextual Analysis of The 34th Street Wall Through Surveying Observers . 12 REVIEW OF LITERATURE The Nature of Public Art ............................................................................................ 14 History of Murals and Graffiti Art …………………………………………...……... 18 Australia ……………………………………………………………...……... 19 Europe .………..……..................................................................................... 20 Sub Saharan Africa ...………………………………………………………. 24 Egypt ............................................................................................................... 26 India ............................................................................................................... 28 China and Tibet .............................................................................................. 29 Central and South America .…..................................................................... 33 Mexico ........................................................................................................... 35 iii United States ................................................................................................. 37 CONTEXTUAL INFORMATION The Murals of Gainesville, Florida ................................................................ 63 Description and Analysis of The 34th Street Wall ………………………..... 72 INTERPRETATION, CONCLUSIONS, IMPLICATIONS, AND SUGGESTIONS FOR FUTURE RESEARCH Interpretation Part 1 ...................................................................................... 103 . Interpretation Part 2 ...................................................................................... 109 Conclusions ................................................................................................... 117 Implications ................................................................................................... 123 Educational Implications ............................................................................... 124 Suggestions for Further Research …………………………………………... 125 APPENDIX A. Senate Bill No. 444 …….....………......……………………………….... 128 B. Human Subjects Approval …..…………..……………………................ 130 C. Informed Consent ……………….…………..……………..................... 131 END NOTES ......................................................................................................................... 132 REFERENCES ...................................................................................................................... 134 BIOGRAPHICAL SKETCH ............................................................................................... 151 iv LIST OF TABLES 1. Distribution of Colors ………………………………………………………………... 74 2. Variations of Content ………………………………………………………………… 75 3. Multiple Panel Designs ……………………………………………………………… 84 4. Duration of Stay …………………………………………………………………….... 86 5. Survey Question Results ……………………………………………………………... 109 6. Participants Profiles ………………………………………………………………….. 109 v LIST OF FIGURES 1. Cave Paintings ................................................................................................................... 19 2. Lascaux Cave ………………………………………………………………………........ 22 3. Herdsman and Cattle at Tin Tazarift, Tassili. The lower cow wears a collar around its neck and has a forked object in its mouth. Figures ca 6 to 14 inches in height ....................................................................................................................... 25 4. Wall mural in tomb, Hierakonopolis ............................................................................... 27 5. Saddanta Jātaka: The Queen Fainting at the Sight of Tusks. Drawing of fresco. Cave 10, Ajant, India. ndhra period, first century C.E. ...................................... 28 6. Dunhuang cave shrine …………………………………………………………………... 30 7. Mural in the tomb of Prince Yi De, 706 C.E. …………………………………………… 30 8. Detail of an animal on a throne-back. The central painting shows a seated white Avalokitesvara, 1270-1368. ...................................................................................... 31 9. The Yin and Yang, symbol of creation ………………………………………………...... 31 10. Mural with mythical animals, Teotihuacán ……………………………………………… 33 11. Mural, Chichén Itzá ……………………………………………………………………… 34 12. Kuau Kiva mural ………………………………………………………………………… 38 13. Crow Lodge of Twenty-five Buffalo Skins, George Catlin, 1832-33, 61 x 74 cm. The lodge was owned by the women, but the painting shows exploits of the husband …………………………………………………............................................. 40 14. Ascension mural, John Biggers, 1988 .................................................................................. 43 15.Hand Signs from the 79 Family Swans Bloods, gang graffiti, 1996, Los Angeles …….... 46 vi 16. Unite to End Police Brutality, political graffiti, 1973, Livingston College, Piscataway, NJ ………………………………………………………………………. 47 17. Tags, STAY HIGH 149, LEE 163, PHASE 2, VINNY, ROTO, CA, FUTURA 2000, AJ 161, FUZZ, and TAKI 183, 1970s, New York City ...................................... 48 18. Throw-Up, SE 3, New York City ………………………………………………………. 50 19. Piece graffiti, 1998, New York City ................................................................................. 50 20. Dick Tracy, Production Piece, Caine 1, 1995, Los Angeles, CA …………………......... 51 21. Complex 3-D Style, SKET BLT, 2000, New Haven, CT .................................................. 51 22. Straight Letter Style, CES, 1998, Los Angeles, CA .......................................................... 52 23. Creeper Style, SIX PACK (GHOST) and SANE, 1999, New York City ........................... 52 24. Bubble Letter Style, SUROC, 1998, Philadelphia, PA ..................................................... 52 25. Wild Style, VFRFresh, 1993, New York City ………………………………………....... 53 26. Loki, HESH, MILK, and DAIM, 1992, Hamburg, Germany .……………………....….... 56 27. Pensamientos Indigenas, 1985, Coco, 72 x 56 inches, aerosol on canvas ……………... 57 28. Gajin Fujita, Los Angeles, 2001 …………………………………………….…………... 58 29. Motley Crue, 2004, Gajin, acrylic and gold leaf on six wood panels ………………….. 58 30. City Sanctuary .................................................................................................................. 60 31. 1995, Atlanta, GA ………………………………………………………………….......... 61 32. Cave Art, Gary Larson ........................................................................................................ 61 33. The 34th Street Wall, Gainesville, FL ................................................................................. 72 34. Throw-ups on The 34th Street Wall .................................................................................. 76 35. Gabe Lacktman .………………………………………………………………………... 77 36. Panels #36, #37, and #38, June 13, 1998 ............................................................. 78, 80, 81 37. Panels #15, #16, and #17, July
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